This intervention takes place at the Muntplein in Brussels during the day on Thursday October 11, 2018 without an audience. It will be documented and mapped in different ways and subsequently presented and discussed on Friday evening, October 12, 2018, at 8pm in conversation with Sepake Angiama and Ola Hassanain.


Softwares is a proposition for a temporal pavilion made up of woven textile covered with a grid-like design. The gray-and-white checkerboard pattern of the grid immediately references the Photoshop transparency grid and a weaving draft. Both of these grids render the production of images visible, while also supporting this process through photography and weaving, the two media that Miletić works with.

The textile for the pavilion was woven on an automated Jacquard loom, which is considered to be the precursor of the first computer and acknowledged as an indispensable tool in the development of early software. In order to distort the binary and serial aesthetic of the grid Miletić chose to produce a partly unbound fabric that is more porous and in parts translucent.

By using and reimagining the grid, Miletić wants to shift our focus from visibility to tactility, from head to hand. Here the artist recalls Bauhaus textile artist and educator Anni Albers who called for a “tactile sensibility” because a lopsided orientation toward vision, as Albers suggested, presupposes too much focus on the eye (or the centering of the “I”), whereas touch is about accessing relationships, thinking through one’s quite physical relationship to the material and how, by extension, the material might affect others in its path.

The pavilion will be temporary installed in the public space of Muntplein, situated in relation to the administrative center and the opera hall, two institutions that produce notions of legality and culture on the same square.

Hana Miletić

Hana Miletić is a keen observer of the social realities that often go unnoticed in public space. She explores the city and its communities marked by migration, focusing on conditions of scarcity and neglect. Her approach reveals the parallels between what we pay attention to and our perception of value. With a background in documentary photography, she creates work in various media, including sculpture, textiles, performance, printed matter and writing, and on a regular basis facilitates collaborative programmes of lectures and workshops.

Three years ago, she became active in community weaving workshops in Brussels, reconnecting with a craft from her childhood in Yugoslavia. Textiles have been passed down through generations of women in her family. The artist sees weaving—which requires considerable time and dedication—as a metaphorical process that allows her to reflect on certain social and cultural conditions. She calls this a practice of “care and repair,” through which she aims to re-evaluate the relationships between working, thinking and feeling.

Miletić often goes beyond the reproductive labour of weaving to intervene sculpturally, undoing parts of the close-knit fabric to expose the intricate bonds between the yarns. Proposing a soft activism, she uses these material gestures to explore the values and technologies that bind (or separate) people.

Hana Miletić, born in 1982 in present-day Croatia, lives and works in Brussels. Miletić first came to Belgium in 1990 and is based there since 2001. She was a resident at
Van Eyck in Maastricht in 2014–15. In 2015, she was awarded the BOZAR Prize in the framework of the Young Belgian Art Prize. In 2016 she participated in Festival Indiscipline at Palais de Tokyo in Paris. She recently took part in the 13th Sharjah Biennial (2017) and is currently associated artist of the Beursschouwburg, Brussels (2016–21). In 2018 WIELS Contemporary Art Centre in Brussels, in collaboration with Kunstefestivaldesarts, presented her first big institutional solo exhibition.